Workspacebrussels is a workspace for new live arts in their most diverse forms. During their biannual festival Working Title Situation they invite you to discover some of the most intriguing new formats and projects artists develop in the field of performance and installation art.

Burrows and Fargion offer a chance to see their 2014 Venice Biennale piece Body Not Fit For Purpose. It is an attempt to reconcile personal politics with the difficulty of saying anything of consequence in a dance performance, all the while revealing the strange permeability of dance to any message that it meets.

With Dance # 2 Christine De Smedt and Eszter Salamon continue to build on Dance # 1 / Driftworks. The first part – listening & mouthing – was inspired by Inuit throat-singing duets. In part two – words & gestures – a dialogue develops in which syllables and words become attached to movements. What does a choreography look like when it resembles a ping-pong game of question and answer?

Box with holes seeks to explore the relationship between touch and its visualisation. How do we see and experience inter- human interaction in a world where we contact each other more and more through technology?Box with holes focuses on a displacement of the senses, which places the spectator into another mental state.

During the Day of the Dancewe show a screening ofIT'S IN THE AIR. In this 2008 collaboration between Jefta van Dinther and Mette Ingvartsen, the two performers jumped on large trampolines for 50 minutes. This video registration is all that remains of the intense physical challenge.

You see a robot trying to stand upright. It always falls over again, but does not give up. It cheerfully and indefatigably undergoes the process of trial and error, falling over and picking itself up again.

Robert Cantarella has been ‘doing a Gilles’ for several years now. Which means that he has been giving new voice to the renowned lectures the French philosopher Gilles Deleuze gave in the 1980s, including the correct intonation, rhythm, hesitations and incoherence of the spoken word.

A rain of ash floats down onto a musician and his instrument. Its impact on the musician and his music slowly becomes visible. Sound and vision gradually transform – until finally everything judders to a halt. How does ‘little’ man relate to the ‘grandeur’ of the universe?

The raw materiality of the set, the physical sound and unavoidable language of movement make Meanwhile, an apocalyptic performance in which the passage of time and the relationship between man and his environment become tangible. This show has been rescheduled to season 2016-17 due to planning problems.

Young theatre maker Orion Maxted builds a performance machine. Humans take the role of the different machine parts – applying a simple algorhythm, they transform each other’s words and gestures into complex structures.

Technological developments lead to a potential new era, that of Technological Singularity. Sandy Williams creates a performance about the tension between our raw, flawed and incomplete human nature and the immaculate potential of a digitised future.

Imminent climatological, political and ideological tipping points raise the question: are we literally ‘falling out of history’? Philosopher/activist Lieven De Cauter talks with philosopher Isabelle Stengers.

For IN VOID, Kris Verdonck combines a number of existing works with three new installations. Using very old theatre techniques and new multimedia he gives shape to ‘virtual presences’. Together they make up a haunted house where the objects come to life.

KAOS sent the Brussels artists Anne Daems and Voebe de Gruyter to Het Vijfde Seizoen, a Dutch artist's residence. At the same time, Het Vijfde Seizoen sent its former resident Milou Abel to Brussels. The work these three artists created – a combination of photos, video, installation and drawing – are now on display in the foyer at the Kaaitheater.

Ivo Dimchev continues his quest for interaction with you, the audience. He invites you to post Facebook-comments, which a dramaturge turns into dialogues. Not only do you literally supply what the actors are saying, you equally shape their views and opinions. The end result remains impossible to predict!

This – unexpectedly current – rerun from 2008 shows Paris from the perspective of the artist-immigrant. During the 20th century countless people took refuge in the French capital, including many artists and intellectuals. Just as likely, they ended up working as taxi drivers or street cleaners. Christian Bakalov’s depictions of their social exclusion and humiliation urge you to question your own feelings of empathy and solidarity.

‘Food for thought’, that is The Discreet Charm of Marxism. Marxist texts on the class struggle and revolution are staged as a six-course meal. In the meantime real food and drink are served, as ‘books’. No one will go hungry!

‘Food for the mind’, that is The Discreet Charm of Marxism. You will be served Marxist writings on the class struggle and revolution as a full six-course meal. In this conversation piece you eat, read and discuss with the other guests! Bring a hunger for ideas and good food.

What if scenography becomes the starting point from where a story unfolds? Meryem Bayram developed a series of pure and basic forms made from cardboard, that transform from an apparently empty and flat surface into a whole repertory of evocative scenic elements.

In Still Animals, Tuur Marinus brings the famous photographic studies of Eadweard Muybridge to life. Naked human bodies that are subtly manipulated by camouflaged performers, perform iconic series like the jumping cat or the flying pigeon.

With The Disembodied Lady, Benjamin Vandewalle delves into the possibilities of a choreography of sound. He generates an immersive physical soundscape that explores the suggestive powers of sound – together with you.